“Minari”: Deconstructing the American Dream

Lee Isaac Chung is an astute filmmaker, who pays close attention to the smallest details. With “Minari,” he has created a universally relatable film, while inserting elements that are specifically Korean.

“To All the Boys: Always and Forever” Review: A Beautiful Vacation

While “To All the Boys” author Jenny Han may have no desire to write a fourth book in this series, wouldn’t it be fun if Kitty got a spinoff? She could move to Seoul to become a K-pop trainee, learn Korean, and reunite with her crush Dae (Jeon Ho-Young). TATB doesn’t have to end with Lara Jean and Peter. With a little bit of tweaking, it can go on always and forever.

“The Uncanny Counter” (경이로운 소문)

Well written and terrifically acted, “The Uncanny Counter” is suspenseful and heartwarming. And in a rarity for Korean dramas, there is no second lead syndrome romance to mess with the plot.

“Penthouse: War in Life” (펜트하우스)

“Penthouse” starts off with the most makjang storyline of the year. This deliciously gripping female-centric series revolves around rival classical singers and includes a (dun dun dun!) switched-at-birth plot twist. Did I mention that one of male characters has a torture chamber in his home, because, why not? Mixed in with the outrageous content is a parable about the haves and the have nots.

“Kairos” (카이로스)

“Kairos” starts off promising and is reminiscent of the best elements of “Signal.” But where the latter kept the suspense going until the end, “Kairos” fizzles out midway, with redundant story arcs and some characters that are not only irredeemable, but highly unlikeable. And I’m not talking just about the villains.

“Start-Up” (스타트업)

“Start-Up” has a second male lead (Kim Seon-ho) who is so charismatic that his storyline often overshadows that of the very handsome lead (Nam Joo-hyuk). Ultimately, the K-Drama reinforces the idea that no matter how broken a family is, the ties remain – for better or worse.